I see cities as religious SANCTUARY in my creations. The following explains all the trails and motives of this series of work.
Skyscrapers in Tokyo are mighty and growing with dense. When I first saw those buildings jointed closely together,
I felt like as same as walking into the grove of towering trees and mountains in my hometown, Kumamoto, Kyushu.
I have always been in awe of nature in Kumamoto with its various myths which have been passed down since ancient times.
Likewise, I somehow experience a tremendous sense of awe when I am surrounded by those concrete structures in Tokyo.
The reason why I feel in that way toward such artifacts remains as a question.
After many times of shuttling between my hometown and Tokyo, I found that while there is natural beauty in Kyushu,
Tokyo is full of its own attractiveness and magnificence created by human beings.
In fact, a great metropolis is what humans created with nature.
As a city is a new figure transformed from nature,it is reasonable to explain what I feel toward a concrete jungle is equivalent to the awe I have of mountains.
Materials of buildings are taken from nature. Natural productions are converted and applied to putting up innumerable constructions in Tokyo endlessly.
Gazing at the continuously changing urban landscape, I feel like watching inorganic compounds performing the seasons.
Moreover, the immense scene of concrete characterizes the skyline. Those giant constructions spring up to cover the city as a kaleidoscope changing consistently.
Taking photos of the splendid city is like making myself a sacrosanct space.
Living in such a capital city for the first time is a heavy burden which makes me feel exhausted both physically and mentally.
In order to escape, or I should say to rescue and heal myself, it is necessary for me to build a sanctuary correspondently.
Photoing the city is the way I have been trying for years.
Symmetrical compositions play a great role in this series of works. The symmetry here means a kind of aesthetic quality of architecture.
Take jinja for instance, TORII (the entrance which symbolizes the transition to the sacred) and SHRINE show symmetry with elaborately designed devices and compositions.
Similarly, my works share the idea with religious buildings by creating symmetrical space: turning buildings upside down and flipping landscapes horizontally.
The reason why I construct my sense of security by recording those building in Tokyo
has something to do with the Japanese view of the universe and primitive religious architectures. Japanese people believe that gods and spirits could be found in nature.
The native religion and the former ethnic cult of Japan have a rather deep connection with nature. We, Japanese natives, express gratitude to abundant nature where we benefit from
and show fear of violent and uncontrollable natural disasters. Admiration, veneration and trepidation form the basis of nature worship toward myriad gods.
As a Japanese who grew up in Kyushu’s environment with the ancient nature worship, I finally understand the sense of fear that I have in the developed city, Tokyo.
On the other hand, places of worship are correspondent to religions. Structures and consecrated spaces for religious purposes, such as jinja, temple, mosque, mass, pyramid et cetera,
are embodiments of various beliefs. Breaking through limits of time and space, no matter what kind of beliefs do people have,
seeking and erecting religious buildings as sacred precincts are in common around the world.
Hence, driven by the original ability of modeling and sensations of a human being,
I have been creating works for more than fifteen years. I will, with this series of works, continuously give new interpretations of the city by photoing.